for funk:i open both filters,w/CVQ's @ full throttle. & ,for jazz:I primarily use only neck p/up w/full CVQ.& for power fusion: I go w/bridge p/up wide open w/neck filter @ half mass,w/both CVQ's @ full throttle,but for BASS solos,I use the bridge p/up for (fast)runs & I use both p/ups thumping stuff,w/both CVQ's & full fire! ,,,thats the best thing about ALEMBICS ,every song has it's own BASS SOUND

I'm really interested to hear what responses you get on this thread. I've been wondering lately how other people use the controls. There are really only two settings that I use (meaning 95% of the time).

Balance centered Both filters to the top Both switches on / or both switches off

Sometimes I fiddle around with the knobs but it seems like the best thing is to just let out all the sound of those awesome pickups.

On the other hand, if someone can describe how to set the controls to get a Fender P, or a Rick, or other specific sound, it would be very interesting to try out.

Very strange, Keavin. I have some of the simplest electronics they offer (Persuader) and I find myself continuously adjusting all three of my knobs from song to song. The filter stays mostly in the middle half of the range, and the pickup volumes usually vary between half and full up. It's odd that you tweak so little when you have the most versatile electronics package. At least, it seems from your post that you never touch the CVQs.

If I had to characterize what my knobs do, the neck pickup is warmth and deep bass, the bridge pickup is a combination of clarity and treble, and the filter seeks out the sweet spot.

As I look at a custom bass, I am not sure what I would do with more controls. I could see the Europa quick-tone switches providing value, or the EMW electronics. I am not sure what I would do with all the variables of signature electronics or anything series. That would mean that rather than simply knowing I want more bass, that I would have to know that I want more bass from the neck pickup while keeping the tightness at the bridge. That's too much to hear, at least for me, when I would not have things wired stereo end-to-end. Maybe I'd get used to it and figure out how to really get every last bit out of the sound, who knows? All I do know is that what I have is enough.

On my Spoilers and SC sig full up with both pups Q's active. Distillate - all up bass middle, treble middle or plus, q on. On the Excel full vol, equal both pups tone all up Q pot all down. F1X all at 5 SF2 filter 1 low pass 10, 10 110hz 10, #2 high pass 10, 10, 110hz 10. Every song is 100% on all the time. I change dynamic and tone by finger force and pick placement. The latest bass (should recieve Tuesday!) Excel 5 with Spoiler guts. Should sound huge! Danno Danno

With my S2, I get a thick but still tight low end using both pups, even favoring the neck position, and that low end is what it's all about, right? I usually run both pups full up with the neck tone control rolled halfway back and given just a hint of Q, while the bridge tone control is rolled back to about 30% to kick out some not-overly-bright mids and the Q control is set between 75 and 100%.

Bonnie is most of the time set: Full bridge, 70% neck, filter bridge 80%, CVQ bridge 60%, filter neck 50%, CVQ neck 80%. I fiddle around from time to time but basically by switching aoutput from Bridge to neck and vice versa. I am not into using

Bonnies' setting (Series II electronics) is most of the time: Bridge vol full, Neck vol 70% en depending on situation (it happens often that I "ad" low in certain situations what made the existence of the master volume on the SII very convenient). Filter bridge 80%, CVQ bridge 60%, Filter neck 60%, CVQ neck 80%. Well ...something like that. I always have something in my head as a bass-tone. I start with the setting of the bass first, than I start working -depending on playing condition- with the F1-X and SF-2. During the show I adjust with the knobs on the bass. My experience is that playing loud intents to "boom" low frequencies, they kinda "spill" and are lacking definition the louder you play. So I concentrate on finding a nice mid. By playing louder the lows are created "automatically". Well ...of course you have to "shape" them and set the boudaries for those low frequencies. THAT's where the SF-2 is so good in!!! In general: I LOVE to be on Tweak Peaks and sloooooowly there is some mastery and insight coming on.

On the Spyder: My settings are pretty similar to Oliver's, though I tend to tweek my filters up a bit more than he does. I also play around with the just the bridge pickup and the Q for that for some really great tones. I also use the same adjustments on the Spyder for fingerstyle, pick, or thumb techniques as I do on my Europa.

BTW, I've been in Korea for two months now, and went to the musical instrument market in the Insa-dong section of Seoul. It is in a building that has about four floors full of nothing but musical equipment. They had everything from Fenders, to Gibsons, to Pre-Ernie Ball Musicmans, to Foderas, Zons, and Warwicks. The stores themselves all pretty much sell the same kinds of things, so you can haggle over a deal pretty well. I only found one Alembic, though. It was an '81 Series I, Standard Point body. Like a lot of the used instruments there (to include a lot of 70's and 60's Fenders and Gibsons), it wasn't in perfect shape. The finish had some nicks, and some idiot had replaced the adjustable nut (someone correct me if I'm wrong, but I understand all Alembics come with an adjustable nut). It played pretty well, though I didn't get to plug it in. The guy wanted 6,000 Korean Won (about $5400 US) for it. After seeing what some Series I's have gone for on Ebay and elsewhere, I decided to pass. I did, however, buy an Ovation Celebrity Acoustic Electric bass for about $330 US. It's made in Korea, so it's definitely not Ovation's top model, but not bad for the money. I even had a gig bag custom made (in one day, no less) for it.

Side note: One of the stores at the market had Foderas which I wanted to try. I asked the salesman (who didn't speak good English, and I no Korean) to try it, and all he said was "too much," which I took to mean expensive. I guess he didn't want to sell any that day. I walked out and never went back.

For most of my originals, I play with Pan Centered, Q switch on, Bass Boost on, Treble Mid. For 70's -80's covers with P-bass sound, I'll cut the Q, and roll the filter back to about 75%. For the Rick sound, I'll turn the filter full on, Q on, and occasionally boost the treble.

This configuration seems to fit the music I play quite well. When I really want that especially growlly tone that only an Alembic achieve, I usually solo the bridge p/u and give the amp a little volume boost.

For very heavy reggae bass lines. I use the neck pick up only filter rolled fully anti-clockwise.... in the most bassy end.

Q-switch off (up)

Pluck strings right at the end of the neck or just above the fretboard near the end of the neck, making sure you have as much of your fingertips on the string as you pluck and you will have a very deep, full and rounded bass sound.

If you want a bit more definition on the attach then blend in the back pick up just a little.

For more thunderous bass turn in the SF-2....... and keep away from the windows.......

Anybody out there have the "East Meets West" (EMW) electronics package on their basses? I just got mine with the EMW stuff and was just wondering what settings others were using. The EMW package seems to be very versatile, but I'm too much of a newbie with them to do them justice.

After I get the "unbiased" (LOL!) opinion of BKBASS, I'll let you know. I need someone like Barry, who's been playing Alembic's of all types for years and has a bunch of them to give me the poop on how it compares (specifically, to the series basses). He's been pumping me-up to get me to buy a SF-2 Superfilter, but I'm resisting because I already have too many knobs to tweek as it is, and I still don't know how to tweek 'em yet, LOL! I also wanna avoid going to a rack system, becuase I don't want the added expense, complexity, multiple failure paths and aggravation that come with it. Plus, I don't wanna lug a rack too (oh, my aching 40-something back, LOL!).

kmh I'm understanding the aching back symdrome..my 50+ back doesnt appriciate it either. But I did go to a rack system, right now I'm at 2 boxes, a 400+ and power conditioner in one and everything else in the other. The Mesa's the heaviest pc right now. How are you using the EMW pkg ? Gary

Straight-thru my Eden WT-550 head/2- D210XST 4ohm Cabs via Monster Cable....no effects or outboard stuff. I wanted a super-portable ultra high-performance rig, and this is it. I have the Eden gig shoulder bag for the amp and the cabs fit in the back seat in my Dodge Ram Cummins with no problem. I can lift everything all by myself, which is a plus.

They're awesome! If you can find better all-round sound in a more compact package, buy it, LOL! Gard and Beaver over at Bass Central talked me out of a single D410XST in favor of TWO D210XST's in the 4 ohm variety. While it was more expensive, the two cabs sound better than the one larger cab, and I have the option of using only one for smaller gigs and/or practice and cranking out the jams for a bigger gig or when I really wanna shake the rafters. The 2 ohm load when using the two cabs. maxes out the output power of my WT-550 head as well for extra headroom. These are the latest and greatest from Eden and are better all the way around than the 210XT's and are slightly smaller. I explained to the guys at BC that I wanted a killer, compact, high-perf amp rig that wouldn't take an army of roadies to carry and set-up, that would be a compliment to my new Alembic and that wouldn't cost a ridiculous amount (this rig wasn't cheap, but it didn't break the bank either). Both Beaver and Gard said that this is the EXACT set-up that they both use for gigging, and that they can play anything they want (ck out their site!), but this is the rig of choice. That was good enough for me. If you havn't heard those guys play, you're in for a treat! especially Beaver, though Gard is no slouch).